Film & Digital Video

Hammerscale is the product of high-temperature oxidation of iron alloys and it is particularly associated with the forging of iron. Due to its magnetic properties hammerscale is easily recovered from archaeological contexts. While most hammerscale consists of flakes of iron oxide, a small proportion consists of spheres. This paper presents the results of the microscopic examination and chemical analysis of both flake and spheroidal hammerscale from archaeological contexts as well as material recovered during experimental forging and welding. In addition, the experimental fire-welding of iron has been recorded using high-speed digital video. This demonstrates that spheroidal hammerscale is produced during forge welding. The chemical analysis of the experimental hammerscale shows that it isformedfrom oxidized iron with a small but significant contribution from the non-metallic inclusions in the metal.

Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą, sprowadzając ją jedynie do roli użytecznego, bezpiecznego narzędzia interpretacji.

Książka Andrzeja Marca odzyskuje niepokojący charakter widmontologii i ponownie wprowadza widma do myśli metafizycznej. Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność?

Kategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.

The unprecedented economic growth and immigration that Ireland experienced between 1995 and 2007 did not only challenge national but also ethnic, social, and gender identities. The contributions to this volume explore how films tackle these challenges and help to make sense of Ireland’s altered position in a globalised world. Among the films discussed are some of the most critically acclaimed Irish films of recent years, including Once (2006), Adam & Paul (2004), Garage (2007), and The Secret of Kells (2009), as well as the work of Oscar-winning director and writer Neil Jordan. The volume is completed by an extensive interview with award-winning director Lenny Abrahamson, and his collaborator, screenwriter and actor Mark O’Halloran.

The article is devoted to the aesthetic features of digital cinematography. Due to the widespread use of computer graphics in films, traditional methods of analyzing cinema are no longer enough. The fusion of graphic and photographic elements and the use of photorealistic graphics enable researchers to take a fresh look at the nature of film. Digital cinema, based on contemporary technologies, no longer builds on the photographic principles of filmmaking and presents a new form of realism and representation of reality on the screen. Objects created with the help of computer graphics can transform and go beyond the simulated real objects, while remaining photorealistic, unable to exist outside the framework of the screen and the particular film. Using classical film studies and philosophical works of Jean Baudrillard, Siegfried Krakauer, André Bazin, Christian Metz and the works of modern researchers of digital cinema such as Lev Manovich, Thomas Elsaesser and Malthe Hagener, the author analyzes the process of transition of digital objects from photorealistic to hyperrealistic ones, which today can be identified as real, while not existing in reality. This phenomenon is of undoubted interest for the academic study of new forms of realism in digital cinema. Based on the analysis of the Snow in the Desert episode from the Love, Death & Robots anthology series, the author traces the development of hyperrealism in digital cinema. Through state-of-the-art digital filmmaking technologies combining both graphic and photographic techniques—motion capture, digital cloning of actors, real-time fluid and environment modelling—we have a new kind of cinematography that is not limited to classical methods of filmmaking, but goes beyond cinema itself, merging with animation and video games. All these processes affect the film aesthetics and make it more malleable, free and less restricted by the classical understanding of motion picture.
Статья посвящена анализу эстетических особенностей цифрового кинематографа и новых форм реализма на экране, возникших в связи с повсеместным использованием компьютерной графики в кино. Объединение графических и фотографических элементов и фотореалистичная графика дают возможность исследователям иначе взглянуть на природу фильма. Цифровой кинематограф, основываясь на современных цифровых технологиях, уже не отталкивается от фотографических принципов кинопроизводства и представляет новую форму отображения реального на экране. Созданные при помощи компьютерной графики объекты могут преображаться и выходить за рамки имитируемого реального объекта, оставаясь при этом фотореалистичными, не имея возможности существовать вне рамок экрана и конкретного фильма. Учитывая это, возникает необходимость создания новых методов исследования фильма, так как традиционных становится недостаточно. Используя классические киноведческие и философские труды Жана Бодрийяра, Зигфрида Кракауэра, Андре Базена, Кристина Метца и работы современных исследователей цифрового кинематографа — Льва Мановича, Томаса Эльзессера и Мальте Хагенера, автор анализирует процесс перехода цифровых объектов из фотореалистичных в гиперреалистичные, которые сегодня могут идентифицироваться как реальные, при этом не существуя в действительности. Это явление представляет несомненный интерес для исследования форм реализма в современном цифровом кинематографе. На основе анализа серии «Snow in the desert» сериала-антологии «Любовь, смерть и роботы» автор прослеживает становление гиперреализма в цифровом кинематографе. Используя современные цифровые методы кинопроизводства, объединяющие в себе как графические, так и фотографические технологии: техника захвата движения, создание цифровых копий актеров, методов моделирования жидкости и окружающей среды в реальном времени, у нас на глазах появляется новый вид кинематографа, который не ограничен классическими методами кинопроизводства. Цифровой фильм выходит за рамки классического фильма, объединяясь с анимацией и компьютерными играми. Все эти процессы влияют на эстетическую природу фильма и делают его более пластичным, свободным и менее ограниченным классическим пониманием фильма в киноисследованиях.

The documentary sports film has evolved considerably since it first appeared in the 1930s. As was a feature of early documentary in the 1920s and 1930s, its first manifestations adopted a poetic approach to the subject, revelling in the possibilities that sport offered to exploit the growing range of capabilities of film in both cinematography and editing. Eventually an expository approach would come to dominate under the influence of the British school of documentary but also as the preferred televisual mode for documentary film, and it is in this mode that most television sport documentaries currently employ. In response to perceived weaknesses of the expository mode, and the advent of new technologies in the 1960s, filmmakers exploited an increasingly observational mode in their depictions, and this would also feature to a limited degree in depictions of sport. Directors of sport films have tended to prefer a participative (or interactive) mode in their approaches to the topic, exemplified in the use of the interview method as a means of exploring the subjects considered. However, increasingly, as with documentary films in general, the cinematic sport documentary employs aspects of several modes, particularly the participatory and expositional. While initially priding itself on its distinctness as a form that captured with integrity aspects of social reality, the documentary film has more and more in its cinematic form come to adopt aesthetics associated with popular fiction film. Though documentary has long being viewed as the form best placed to provide complex engagements and understandings of the social and political contexts of the subjects featured, this is increasingly no longer the case in its contemporary cinematic manifestations. Rather, the focus has moved to exploiting the dramatic possibilities of found footage or renderings of social reality rather than providing a means of understanding or engaging critically with such footage. The cinematic sport documentary film has instead focused, as in fiction film, on individualist tales of overcoming and achievement often configured within the familiar three-act-structure of popular cinema.  As such, in the post 9/11 moment, the cinematic sport documentary film has provided, in common with its fictional counterpart, a further affirmation of the American Dream ideology in individualist tales of overcoming and achievement often against the most extraordinary odds.

This article examines the trend of looping videos online. It distinguishes between different types of loops (photography-based and video loops) and their functions (background and foreground). It also argues that the loop through its unit multiplication serves the human need for duration, self-reference and communication.

My doctoral thesis on video games and Fine Arts. You can read the rest of my doctoral thesis through here: http://digibug.ugr.es/handle/10481/49414#.Wp_aFHyCFle

It is in Spanish though, accessible where the .pdf file is hosted (down in that webpage, where it says "Visualizar/abrir".

Making a short documentary or a video report seems quite easier than it actually is. One often thinks : I go out there, I shoot my film and then I edit it... But who will be on site, there might be too much noise, not enough light... what will I ask or say, what will I reveal that is unknown, am I well documented and... how to make my story interesting ? What about the centring... the point of view ? I heard that the camera angle conveys specific impressions... And all that said, I know nothing about video editing...

This essay will address one of the key themes which accompanies both the evolution of new media technologies during its four decade long history and the current ongoing shift of cinema towards being computer-based in all aspects of its production, post-production and distribution. This theme is “realism.” The introduction of every new modern media technology, from photography in the 1840s to Virtual Reality in the 1980s, has always been accompanied by the claims that the new technology allows to represent reality in a new way. Typically it is argued that the new representations are radically different from the ones made possible by older technologies; that they are superior to the old ones; and that they allow a more direct access to reality. Given this history, it is not surprising that the shift of all moving image industries (cinema, video, television) in the 1980s and 1990s towards computer-based technologies, and the introduction of new computer and network-based moving image technologies during the same decade (for instance, Web cams, digital compositing, motion rides) has been accompanied by similar claims. In this essay I will examine some of these claims by placing them within a historical perspective. How new is the “realism” made possible by DV cameras, digital special effects and computer-driven Web cams?

Camp, a style of performance in queer subcultures, is being reimagined in the online video portal of YouTube. Online performers—mostly young and queer—have infused camp with a neoliberal sense of individuality, emotional authenticity, and personal development, thereby challenging historical understandings of camp as wholly ironic and disengaged or politically charged. These shifts in self-presentation are reflected in statements made by performers in interviews and in the videos posted by these vloggers.

В данной статье проводится исторический обзор взаимоотношений видеоарта и повествования на нескольких этапах его развития. В период формирования языка видео – 60-80-е гг. – и в период становления видео привычным медиа современного искусства – 90-е гг. Отдельно рассматриваются канадские и британские новые нарративисты.

Designed for people who want to tell a story their way, The Complete Idiot’s Guide to Independent Filmmaking explains everything a budding auteur needs to know— from literary development and financial and organizational pre-production to principal photography production, post-production assembly, exhibition and distribution, and more.

Phronetic organizational research is an approach to the study of management and organizations focusing on ethics and power. It is based on a contemporary interpretation of the Aristotelian concept phronesis, usually as ‘prudence’. Phronesis is the ability to think and act in relation to values, to deliberate about ‘things that are good or bad for humans’ in the words of Aristotle (1976:1140a24–b12). Phronetic organizational research effectively provides answers to the following four value-rational questions, for specific problematics in management and organization studies: 1. Where are we going with this specific management problematic? 2. Who gains and who loses, and by which mechanisms of power? 3. Is this development desirable? 4. What, if anything, should we do about it?

This proposal superimposes the history of Philippine dance research to technological revolutions in the 20th century. It moves the study to the 21st century paradigm where digital technology is the emerging trend in education and indigenous media is sound practice. Using digital technologies and mixed methods, this paper shall evaluate the use of indigenous research methodology, deconstruct the narrative structure of Radzmina’s indigenous knowledge, find emerging themes in indigenous media production and feedback of culture-interested Facebook users, develop a working model for educational digital media production and, finally, contribute to new educational media in dance research.

Rituparno Ghosh was one of the rare film makers in India who recognized the power of silence both as a text and a narrative. Gosh made conscious efforts to communicate the music of silence in many of his films. These sincere attempts knitted the complex human desires, passions and emotions in his film. This chapter investigates the power of silence in the films of Rituparno Gosh. Here silence is not only a filmic apparatus, but also a major emotional element in his films, particularly in the portrayal of human relationship.

David Claerbout’s video installation Vietnam, 1967, near Duc Pho, reconstruction after Hiromishi Mine (2000) questions the “photographic now,” the present state of photography and its new relation to the present. The piece reproduces, or more exactly recomposes, a press photograph of an American airplane shot down by friendly fire. The Belgian artist travelled to the site of the accident and took a series of photos of the landscape. He then assembled these stills into a video animation onto which he superimposed the still image of the exploding plane. The result is an image whose temporality is hybrid and whose mediality is unclassifiable. My study investigates the process of digital reconstruction and animation, and the “becoming signal” of the image, and questions the possibility of reactualizing the photographic past through digital screening.

This study aims to throw lights on the phenomena of self-broadcast videos, focusing on the distance between author and the character presented on screen, on how such videos may be perceived by society and on collateral implications of this communication. In order to do that, YouTube was selected as the medium, and among YouTube users, the user Magibon was selected.


The phenomenon broadcasted by Magibon is in the eye of the storm of the miracle society is experiencing in Post-YouTube Era of self-broadcast. The “Hello, World!” message is (and it always is) accompanied by a full set of attached/embedded messages and for many reasons Magibon stands out as an icon — and official partner — of such phenomena, which provoke, amazes and disturbs the audience.

Points principaux abordés:
1) Une vision théorique générale de ce que c’est un texte en général et un texte audiovisuel ou filmique en particulier.
2) Un ensemble de notions et de concepts explicitant le cadre théorique et à utiliser dans une analyse concrète d’un texte audiovisuel.
3) Première esquisse d’une méthodologie d’analyse d’un texte audiovisuel

Cutting-edge digital video technologies could impact teaching, learning and research by providing more efficient, flexible and immerse experiences. In the early 90s, Apple developed QuickTime Virtual Reality (QTVR), and it can be considered the precursor of 360-degree videos. QuickTime VR technology used a series of pictures and stitched them together cylindrically (images wrapped around the viewer) using a QuickTime movie file. Users were able to scroll up and down, right and left, zoom in and out and even click links that contained audio or pop-up windows. In the late 90s, applications such as PanoViewer were developed using Flash that has similar functionality. With the mobile phone (2007) and tablet revolution (2010), these applications became redundant, and mobile applications started to offer VR experiences. Regrettably; it never has a massive uptake for education nor for the general public. Twenty years later, the offer of 360-degree video cameras started due to YouTube support for publishing and viewing the 360-degree videos (2015). Currently, there are more than twenty 360-degree video camera brands on the market. The development of a vast offer of action cams may inspire this trend. This conceptual paper presents a critical discussion of how this new technology could potentially be embedded in teaching, learning and research, and what are their advantages and limitations.

What follows here is not a definition of art by decree. Nor is this some kind of art manifesto. We are not saying this is how art should be, or could be, but how it is, if you let go of the prison of aesthetics, and follow an infinitely more interesting conceptual trail. This is about uncovering and identifying an approach to art which avoids the triviality of sensory-based aesthetic theory and moves instead towards exploring the experiential worlds that art presents us with. And this approach is not about diminishing the sensory enjoyment of artworks, but about placing them in a much richer context, where they can work a far greater magic.

Abstrak Proses belajar mengajar merupakan suatu komunikasi antara pelajar dengan pengajar yang terjadi secara langsung maupun tidak langsung, secara tidak langsung banyak cara agar bisa tetap melanjutkan proses belajar salah satunya di bidang video yang merupakan sarana agar pembelajaran lebih mengikuti zaman dan kecanggihan teknologi yang ada. Video dapat menjadi sebuah media menyampaikan pesan secara visual kepada seluruh audience dengan itu video termasuk metode yang sangat efektif dalam era ini. Kata Kunci: Sinematografi, Film, Visual. Abstract Teaching and learning process is a communication between students and instructors that occur directly or indirectly, indirectly there are many ways to be able to continue the learning process one of which is in the video field which is a means for learning to keep pace with the times and technological sophistication. Video can be a medium to convey messages visually to all audiences with the video including a very effective method in this era.

Video games are increasingly becoming an important media today, despite the light connota-tion of its initial categorization. Today they are an industry that produces billions of dollars and employs engineers and artists alike in an art form spanning interactive games, to virtual socie-ties where millions of people dwell. However, like all human products, our same fears, flaws and xenophobia show in the games, with the reflection of hatred, racism and stereotypes that are our everyday experience. Also, because of the influence of other media, like television, with misrepresentations of blacks, Latinos and other races, or the objectification of women are pre-sent in video games. The significant thing found researching for this assignment is that most of those who use these games are themselves part of minorities or races that are not exactly white Americans. Abuse of the frustrations and desires of the user, handling codes and the system an-swers of gamers to maintain the player engagement, has more resemblance to the use of illegal drugs than with art, but however, the complexity of the design, stories and global assessment, have led to other considerations by experts. Competing in the games could be considered as having more of escapism that the reality of engaging, but all human beings are expected in their tribes to compete and demonstrate their value as a member while complying with social norms or expectations. Same as satisfying or surrender to corporate or group interests. Here are some thoughts for the purpose of this study.

This book is a faithful reproduction of the Wikipedia article “VJing”, based upon the revision of July 25th 2010, last edited by 77.12.27.96. This book was produced as a physical outcome of the “wiki-sprint“, a collaborative writing workshop that was held in May 2010 in the frame of Mapping Festival, Geneva.

The book includes a prologue by Raphael DiLuzio and an introduction by Ana Carvalho. The final editing and layout took place in August 2010 during Hyperactivity, a summer lab at Centre d’art de Neuchâtel.




Aknowledgements
by Manuel Schmalstieg

This book is the outcome of a collective writing workshop that was held in Geneva between May 6th-13th 2010. Taking place in the context of Mapping Festival, an event dedicated to live audiovisual performance art, this writing sprint gathered a small but dedicated team of contributors who spent seven days discussing, expanding, translating and improving the Wikipedia article dedicated to the artistic practice ofV]ing.

There are several people without whom this project would not happen. I would like to thank in particular Justine Beaujouan and Boris Edelstein from the Mapping Festival, who shared our enthousiasm and provided financial backing, work-space, food and accomodation. The whole Mapping team has been of great assistance, notably Stef who has managed travel logistics for the foreign Wiki-Sprinters.

I must thank all the participants in the sprint for their dedication: Ana Carvalho who-for our luck-stayed a few days longer than planned due to the icelandic volcano ashes, Tom Bassford who brought some friction and controversy into the editing process, Carrie Gates who rescued the sprint with advanced sticky-notes technology, Raphael Di Luzio who managed to participate regardless the melting of the ice blocks, Carole Thibaud who did an amazing translation work (maybe another book to be published), not to forget the online contributors who did their best to synchronize across their respective time zones: Alex Berry, CHiKA and Xarene Eskandar (USA), Kenneth Feinstein (Singapore), and Elsa Vieira (Prague).

Gratitude goes also to Ilan Katin and LeCollagiste, who visited us during the sprint to share with us their personal philosophical views on VJing. Last but not least, we are indebted to the 370-something wikipedians who have worked on the previous iterations of this article since it was created in 2006.
Probably the idea of this wiki-sprint wouldn't materialize without the inspiring work of the Floss Manuals community led by Adam Hyde, who perfected the revolutionary concept of the «book-sprint» as a means of producing textual content through a collaborative process that has proved amazingly efficient and exciting.
On a more technical side, our work was facilitated by the open-source software tool Ether- Pad, a web-based collaborative real-time text editor (sadly discontinued by Google after its aquisition in December 2009) which has proved tremendously useful for our project. We thank the German Pirate Party for maintaing a free and independent EtherPad server hosted at <www.piratenpad.de>.

The editing of this book, several months after the Wiki-Sprint, was carried out in August 2010 during the Summerlab, a group residency hosted by the Centre d'Art de NeucMtel. I thank the team of CAN, Arthur De Pury, Marie Villemin and Marie Lea Zwahlen, for providing a perfect context for this editorial activity.
August 2010

When Paramount Pictures released its “controversial classic” Looking for Mr. Goodbar (1977) for the last time in 1997, it promised viewers, “nothing can prepare you for this film’s shocking ending.” That shocking ending turned out to be obscurity: the final VHS copies of Richard Brooks’s once controversial film will become unplayable around 2027, but the movie has already been marginalized by film-historical economy of value dependent on commercial distribution. This article thinks through the ways that digital video platforms and economies structure scholars and viewers’ relation to film history. Artificial economies of scarcity are indispensible components of the classic film market, but the critic often feels an urge to save a beloved text, to somehow prevent its loss. That fear of loss engenders an affective response that I call the savior complex, which gives rise to two critical imperatives: an interrogative quest to uncover the truth about the text and compassionate redescription, which sustains viewers’ hope through the embrace of filmic pleasures. Working through both responses in relationship to Looking for Mr. Goodbar, I argue that the film forces a figural and material encounter with loss that pushes its viewer to sit with and accept rather than resist mortality and material transience. In so doing, she gains greater awareness of her own critical motivations and can figure out what it is she truly wants to know about film.

"The general objective of this course (organized in four parts) is, to provide a comprehensive introduction into the semiotic description of audiovisual communication: films, photos, animations, etc.

The first part is dedicated more particularly to the analysis of audiovisual topics (i.e. of what a film, a photo, an animation, … is about)."